RUTHFULLY YOURS

https://pjmedia.com/david-manney/2025/09/17/the-lefts-favorite-quiz-always-the-same-wrong-answers-n4943844

The Pop Quiz Nobody Asked For

Somewhere between Nickelodeon, a college lecture hall, and a CNN panel, there exists a pop quiz that never dies: questions don’t change, biased grading, and a predetermined outcome.

Answering with logic, history, or facts results in the professor, or, in this case, the media and activist class scribbling the same word in red ink across the top of the page: Nazi.

The insult isn’t the problem; it’s the sheer laziness of their argument. It’s a verbal equivalent of a raspberry aimed at an empty room.

When political debate is full of words with specific blood-soaked histories, the power of those words evaporates. After calling every political opponent “Hitler” long enough, the memory of who Hitler really was fades.

In the first Incredibles movie, Dash’s mom, Elastigirl, told him that the world says everybody is special. Dash complained that it’s another way of saying nobody is.

Our public discourse has evolved into a giant vocabulary test, where half the class can’t be bothered to open a book, let alone study.

Their written answer in the blank is “fascist,” except that when they spell it, it’s more like “fastfish.”

I know everybody is familiar with the following terms, but if it helps just one person, I will feel swell.

Nazi: The All-Purpose Smear

https://amgreatness.com/2025/09/17/weaponized-scoops-new-russiagate-documents-expose-media-government-collusion/

This article was originally published by RealClearInvestigations and made available via RealClearWire.

Recently declassified documents indicate that people close to former FBI Director James Comey and Democratic Sen. Adam Schiff were connected to leaks of classified information to prominent reporters designed to portray Donald Trump and his allies as being in league with Russia.

Written in 2017, the FBI documents expose how selected Washington reporters, including Ellen Nakashima of the Washington Post and Michael Schmidt of the New York Times, scored a series of Pulitzer Prize-winning scoops in 2017 by repeating false and inflammatory leaks during President Trump’s first term.

Much of their reporting has been debunked – and shown to be part of a smear campaign by high-ranking officials to undermine Trump, but the identities of those leakers have remained hidden because of the government’s apparent unwillingness to expose its own and the refusal of reporters to identify the people who misled them and the nation.

Although the heavily redacted recent disclosures do not specifically identify the suspected leakers, an RCI analysis of the documents strongly suggests that people close to Comey and Schiff, among others, were feeding the reporters information to advance the Russiagate hoax.

The documents reveal a cascade of misdeeds and failures. These include the effort of government officials to create and leak misleading classified information to favored reporters and the failure of reporters to scrutinize the information they were given before rushing it into print, and the subsequent failure of federal investigators to hold anyone accountable for the breaches of security.

The documents also detail the incestuous nature of media-government relationships inside the D.C. Beltway. In some cases, spouses and friends of government officials and reporters were used to spread damaging misinformation about Trump, making it difficult for federal investigators to follow the trail of illegal disclosures.

“All of these cozy friendships of leakers and leaker recipients, many of whom are married to each other, are precisely why reporters adore hiding their sourcing behind walls of ‘senior administration officials’ or ‘senior U.S. officials’ and associated disguises,” said Tim Graham, director of media analysis for the Media Research Center, a Washington-based journalism watchdog group.

https://www.frontpagemag.com/charlie-kirk-ignored-at-the-emmys/

Not that anyone outside Tinseltown cared or noticed, but the 77th Primetime Emmy Awards took place Sunday night in the wake of Wednesday’s epochal assassination of Turning Point USA founder Charlie Kirk. While the world mourned peaceful, free speech martyr Charlie, Hollywood celebrities – who are ordinarily eager to turn awards shows into political platforms – pointedly made not a single reference to his murder throughout the entire event, much less held a moment of silence.

Could there be a starker demonstration of the unbridgeable chasm between American patriots and the out-of-touch, hate-America elites of Hollywood?

Showbiz rags like Deadline and The Wrap are crowing that the awards show drew a four-year viewership high, according to Nielsen data. Keep in mind, however, the salient point that the last four years marked deep plunges in Emmy viewership because Americans are fed up with these privileged haters. Indeed, the 76th ceremony in January 2024 holds the record for the all-time lowest Emmys audience, with just 4.3 million bored viewers worldwide. Hollywood wants desperately to believe that Sunday’s slight uptick is an indication that star power is coming back strong.

It is not. Celebrity endorsements, for example. are worthless now. Failed presidential candidate Kamala Harris discovered this the hard way during her campaign last year, when she desperately passed out big bucks like Halloween candy to buy the support of big-name entertainers such as Beyoncé, Katy Perry, Lizzo, and Oprah Winfrey. Neither they nor dozens of other stars moved the electoral needle one iota for Kamala. The days when politicians – Democrats, anyway – could count on a boost from buddying up with movie stars and pop stars are over, because in recent years progressive celebrities have squandered their influence by displaying open, partisan contempt for more than half the country.

https://www.city-journal.org/article/trump-smithsonian-review-woke-america

The White House announced plans last month to conduct an “internal review” of Smithsonian museums to determine whether they “reflect the unity, progress, and enduring values that define the American story.” A chorus of left-wing critics claimed that the Trump administration was trying to stifle free speech and whitewash history. New York Times culture reporter Robin Pogrebin, for example, characterized the efforts as part of “a wholesale attack on the arts” that could have “lasting, chilling effects,” as Trump attempts to “impose his vision of American history.”

In truth, it is the Left that has imposed its idiosyncratic vision of American history on the Smithsonian museums. Rather than a misguided attempt to control these museums, the Trump administration’s review is a necessary step to reclaim for the American people institutions that have long been controlled by the Left.

Consider, for example, one of the Smithsonian’s recent depictions of “American history.” In 2020, the Smithsonian’s National Museum of American History opened an exhibit called Girlhood (It’s Complicated). Per its chief curator, this 5,000-square-foot display partially reflects the curatorial team’s thoughts “about how intersex and transgender stories illuminate and complicate ideas about girlhood and what it means to grow up female in the United States.”

This is the kind of “history” Smithsonian visitors have come to expect. But according to Pogrebin, it is Trump who wants “a simplified version of America, a story with kind of less nuance and complexity.” In fact, however, the Left has pressured these museums to present a one-dimensional story of oppression, denying the splendor of a nation whose creation British author Paul Johnson describes as “the greatest of all human adventures.”